paul secor

Cesaria Evora (Nonesuch)

Mansour Seck: N'der Fouta Tooro Vol. 1 (Sterns Africa)

Blue Train

A favorite since the first time I heard it.

The Mingus Dynasty sessions sound better today than they did when I was younger. I guess that's one definition of classic.

Happy Birthday, Tom - All the Best!

Brew Moore: Zonky

Bennie Moten's Kansas City Orchestra Volume 1 - "Justrite" (Frog)

Mingus: 1959 CBS (Mosaic) - LP 4

Yes, sad news. Condolences to her family.

Spinning some more 45s: Professor Longhair: Cuttin' Out (Ron) Dr. Horse: Jack, That Cat Was Clean (Fire) Wild jimmy Spruill: Hard Grind T V Slim: Don't Knock the Blues/My Heart's Full of Pain (Pzazz) - As an incidental, Produced by Paul Gayten, Arranged by Teddy Edwards Mr. Bear and His Bearcats: How Come (Groove) Jimmy Anderson and the Joy Jumpers: I Wanna Boogie (Zynn)

More 45s: Big Boy Myles and the Shaw-Wees: Just To Hold My Hand (Specialty) Junior Gordon: Blow Wind Blow (Ace) Bo Dudley: Coast to Coast (F-M) Washboard Willie: After Hours Part 2 (Von) Poppa Hop: I'm a Stranger (Ivory) Elmore James: The Sun Is Shining/I Can't Hold Out (Chess) Buster Brown: Big Legs - Big Stockings (Nocturn)

Possibly inspired by Jeff's juke box pic, I decided to play some 45's: Doc Terry: Things Can't Stay the Same/Dr. Boogie (DTP) Otis Rush: All Your Love (I Miss Loving) (Cobra) Ray Harris: Come On, Little Mama (Sun) Flash Terry: Her Name Is Lou (Lavender) Good Jelly Bess: (You'll Have To) Come and Get It (Hermitage) - "Good Jelly Bess" is said to have been Billy Lee Riley, though he denied it. He may have at least have played harp on the record. Some sources say that the singer may be Fred Carter, who wrote the song and who was Ronnie Hawkins' guitarist in the Hawks, the precursor to The Band, and later did yeoman work in the Nashville studios. Either way, it's a good enough Jimmy Reed take off to have made the first two editions of Blue Records. Having listened to a later version of the song by Carter on YouTube, I have to go with Riley as the vocalist. I don't think Carter's voice was funky enough. Screamin' Jay Hawkins: Monkberry Moon Delight (Queen Bee)

Thanks for putting my "quote" in proper context, Larry. I'll have to read the Schuller piece when I have some extra time.

I guess I'm supposed to be impressed, and would like to be, but I'm not. When I hear these sort of things, I'm reminded of reading a quote - can't remember where or who said it - but something to the effect that Stan Kenton can be on stage and make dramatic gestures, and every arranger in the audience can tell you exactly how it was done. Ellington can wiggle a finger, three horns will play, and the same arrangers will say - how did he do that? I know that there was only one Ellington, but still the point was made.

The Stranger Mark Twain Jim Cleamons

I can take or leave Chris Connor, but the arrangement sounds like someone trying to show off their cleverness, rather than creating an accompaniment for the singer. "Different planets", indeed.

I caught him about 6 or 7 years ago on a bill with Professor Irwin Corey and Jerry Stiller. He was still doing it. A great night. New York Times obituary: https://www.nytimes.com/2017/08/19/arts/dick-gregory-dies-at-84.html?_r=0

Mingus 1959 CBS Sessions - LP 3

Especially when they make a call against the Rangers.

Mingus said it well: "If Charlie Parker Were a Gunslinger, There'd Be a Whole Lot of Dead Copycats").

An old favorite.

She can PLAY. And I love the big full sound she gets out of the horn. Thanks for posting this.

Edward Dorn - "in Defense of Pure Poetry" The guards can say what they want And so can Vernon and so can NBC But whatever it is they have to say Nobody can fault the King For squeezing the trigger on Robert Goulet